Movies

Her films put a uniquely surreal Africa on the map. Rungano Nyoni won’t be limited by expectations

BBG News

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When A24 agreed to handle the distribution of Rungano Nyoni‘s newest movie, “On Becoming a Guinea Fowl,” the director felt a tad apprehensive.

She expresses, via Zoom from her office in Zambia with reliable internet, “A24 is a brand that gives me pause, and to be honest, I find American culture quite overwhelming.

She was also wondering why the company would want to get on board with a film from her country.

42-year-old Nyoni expressed her surprise, “They hadn’t made African films before,” she said, using her British-tinged accent. “I wondered, ‘Why the interest in an African film?’ I was always wary. Most people would be excited about such projects. But I began to ponder: What are the implications? What is at stake? Are they after something valuable? I recall telling my team, ‘I don’t think my film is particularly trendy.’

In essence, Nyoni’s film is quite impressive, despite her habitual use of humorous self-deprecation in conversation. As an observer, it’s clear why A24 would be interested. Notably, Nyoni made a significant impact in 2017 with her first feature, “I Am Not a Witch,” a biting comic satire that was set in Zambia and centered around a young girl falsely accused of witchcraft, which garnered critical acclaim.

In theaters this Friday, her latest work titled “On Becoming a Guinea Fowl” (her second production) reinforces and expands upon Nyoni’s artistic perspective, positioning her as one of the leading voices in contemporary African cinema. This project grants her an extensive global stage that very few filmmakers from the continent have access to.

The fresh movie presents a unique blend of bizarre yet amusing scenes, starring Shula (Susan Chardy). Initially, we find her on her way home from a costume party under a moonlit, silent road. Her appearance mirrors Missy Elliott in the “The Rain” music video, complete with a glittering mask. However, her journey takes an unexpected turn when she stumbles upon Uncle Fred’s body in the gutter. Following this shocking discovery, Shula contacts the authorities and informs her family about the perplexing death. Subsequently, she is unwillingly involved in the town’s mourning rituals.

Gradually, it becomes clear what sort of individual Fred was, as evidenced by Shula and her other younger relatives’ distressed expressions. In truth, he was a serial sexual assailant, a reality that is subtly omitted in the emotional tributes paid by others. The film had its premiere at last year’s Cannes Film Festival, where Nyoni received the directing prize in the Un Certain Regard section.

Nyoni explains that being a filmmaker from Africa isn’t straightforward because funding is typically scarce within the continent. As a result, she often needs to maintain multiple identities, which can sometimes be advantageous. For instance, when they were going to Cannes, there was a disagreement about whether their film was Zambian or British. Nyoni insisted it was Zambian, but they were told it had to be classified as British instead.

In the scenario, Nyoni perceived that a significant aspect of her personal identity was being overlooked or undervalued. This is due to the fact that the movie was officially categorized as being produced in Zambia, the United Kingdom, and Ireland.

Despite her initial reluctance, Nyoni acknowledges that she required ample time to recuperate emotionally following the production of “I Am Not a Witch,” before embarking on another project.

She remembers it as a nerve-wracking experience, one that stemmed from the necessity of demonstrating her capabilities to investors. However, she notes that this situation was particularly demanding due to the distinct cultural variations she encountered while collaborating with both a Zambian and a British team.

She remarks, “Film sets offer a microcosm of global events, and things can quickly turn sour.” In a more polite expression, let me say it this way: You observe the formation of social hierarchies where individuals may belittle others. This issue was particularly challenging for the Zambian team, as they often faced disrespect, which I found troubling.

Nyoni’s life and career have been significantly shaped by her connection to both African and European cultures, as she was born in Zambia but moved to Cardiff, Wales at around 9 years old. She later studied business at the University of Birmingham, yet her interest was piqued by Isabelle Huppert’s performance in Michael Haneke’s “The Piano Teacher.

Nyoni recalled, “I’ve watched this film countless times, pondering: What enchantment is this that keeps me so engrossed with this seemingly unlikable woman?” She mused. “I found myself drawn to her, despite our differences – that was captivating. I initially attributed it to Isabelle Huppert’s performance, thinking she was extraordinary, aspiring to emulate her. But then I realized, it wasn’t just her; it was the genius of Michael Haneke at work. If I could create such a connection with my African cinema audience, who may not initially relate to my world, and still manage to resonate with them, I believe that would be an incredible accomplishment for me.

Despite her films often presenting a critical view of Zambian society, Rungano Nyoni maintains a sentimental attachment to the country. Approximately four months ago, she moved back with her partner and their 3-year-old daughter, desiring for her child to experience the same upbringing she did. Additionally, Nyoni continues to nurture a bond with Maggie Mulubwa, the actress who starred in “I Am Not a Witch,” now aged 16.

She playfully implies that she moves residence following each movie. After “I Am Not a Witch,” she moved to Portugal. However, it was Zambia – along with a personal grief – that sparked the idea behind “Guinea Fowl.

Approximately three years past, Nyoni’s grandmother passed away, causing the director to return home for the funeral. Instead of traditional Zambian mourning practices as requested by her great-uncle from his village, they were not to sleep at the house or express sorrow publicly. With this newfound free time since she didn’t have to tend to others, Nyoni felt restless. When she eventually managed some sleep, she had a dream that closely resembled Shula’s tale in its most bare-bones structure.

“I woke up and I went to my living room and started writing it out,” she says.

Nyoni found herself deeply attached to her grandmother, much like the bond she shared with her late uncle. However, this affection led her on an unusual path – creating a movie where the relationship portrayed is the complete reverse of what she truly felt.

During the time I was grieving for my uncle, I recall expressing to my partner something like, ‘It’s hard to fathom having to go through all this if one doesn’t truly cherish the person.’

In the movie “Guinea Fowl,” the funeral customs are lengthy and demanding. Women in Shula’s family are tasked with catering to and maintaining cleanliness for all attendees, while facing criticism if they don’t appear sorrowful enough. The tension is heightened by the fact that the deceased man left a legacy of suffering that has echoed across generations. Guinea fowls, birds known for their ability to cooperatively protect themselves from predators, serve as a poignant symbol for the women’s united strength and also provide a chilling visual theme. The film also incorporates a brief segment from an educational children’s TV program, explaining these creatures.

Though the topic is quite grave, Nyoni skillfully injects the movie with a touch of dark comedy. This can be seen in moments like Shula’s tipsy cousin dancing on her car or when Missy Elliott’s outfit is featured.

Nyoni clarifies that tone is crucial for her. At times, it can seem like she’s trying to stir emotions, but it’s all about finding the right equilibrium. In funerals, there are often humorous or absurd occurrences I’ve observed – people may grieve and then be on their phones simultaneously.

Nyoni realizes that her movies might mislead people about her true feelings towards Zambia. She’s learned that some attendees at a festival in Zimbabwe took offense to the film “Guinea Fowl.

She admits, “After that, I imagined the movie in my mind and realized, ‘Oh, yes, it might appear disrespectful.’ It seems like I’m mocking Zambian culture unintentionally.” She clarifies, “People might have misunderstood.

The embellishments she deliberately added didn’t make sense to audiences from other countries. A director recalled an early reaction to “I Am Not a Witch” at the Toronto International Film Festival, where audience members questioned if they actually tied women to trucks in Africa. The director was dismayed, feeling that he had contributed to the misconceptions about Africa.

She acknowledges that she can only take accountability for what she produces, yet she’s grappling with the best way to portray her unique perspective. In her own words, “My primary challenge is not reinforcing stereotypes or clichés, but rather I fear oversimplifying or diluting my culture so that others can comprehend it more easily.” She expresses a need to strike a balance between providing context without appearing condescending.

For upcoming endeavors, Nyoni aims to broaden her experiences. She’s currently working on a film project based in Zambia, as well as a movie with Barry Jenkins’ company Pastel, which will be filmed in Europe. Additionally, she has a science fiction project planned in Botswana. The sci-fi idea is daunting for her because it involves extensive visual post-production work, a task she finds “frightening.” Occasionally, she wonders if she could return to education to learn about special effects.

She notes, “After creating your initial or subsequent films, this is often the case – it shatters the belief that one can accomplish anything without limitations.

However, she has accomplished everything she set out to do, and Nyoni humorously remarks, “I’m a bit of a worrywart by nature.” Her humility and apprehension seem authentic.

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2025-03-07 17:31

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